It’s been a while since I’ve done a Word Nerdery post, as I’ve been on holiday and am considerably less productive in the summer (boo heat), so I thought I would go through the many, many subgenres of fantasy. If there are any that I’ve missed or miscategorised, do let me know!

Epic: This subgenre involves events that happen on an epic scale, usually affecting the entire world (or the character’s world). Examples include: David Green’s Empire of Ruin series; Tolkien’s Lord of the Rings, Robert Jordan’s Wheel of Time

High: High fantasy used to be considered epic fantasy, but in recent times the definition has changed. It is primarily considered to be fantasy set in a secondary world, however some people define high fantasy as the relative amount of magic (high) and rules regarding that magic. An example of high fantasy might be Brandon Sanderson’s The Way of Kings, or (again) Tolkien’s Lord of the Rings.

Low: In contrast to high fantasy, low fantasy is usually set in the primary world (our world), or contains a lower relative amount of magic, depending on the definition. The Harry Potter series would be considered low fantasy by some because of it’s primary world setting.

Contemporary: Contemporary and urban fantasy are often confused. Both tend to take place in the real/primary world, but deal with magic in different ways. In contemporary fantasy, magic can be a less common occurrence, or even singular, in a world that is otherwise normal. For example, The Invisible Life of Addie LaRue by VE Schwab might be considered contemporary fantasy.

Urban: Similar to contemporary fantasy, this genre takes place in the real/primary world. It often deals with a hidden (or not so hidden) magical world of fairies, vampires, shifters, etc. and their interactions with humans. Jim Butcher’s Dresden Files books are urban fantasy.

Gaslamp: An urban-style fantasy that takes place in the equivalent of the Victorian era (though occasionally this extends back to the Regency era). This can take place in the primary/real world or in a secondary world. Examples of gaslamp fantasy include Genevieve Cogman’s The Invisible Library.

Lit/RPG: A subgenre that closely follows the rules of games, most often tabletop RPG games. The characters will level up and explore new aspects of the world as they face challenges. This subgenre has very specific rules about character growth/ability and often mirrors RPG games. An example of Lit/RPG fantasy is The Ashen Levels by CF Welburn.

Progression: This is fantasy where progression of characters is the primary focus. A lot of Lit/RPG books also fall into the realm of progression fantasy. The Harry Potter series can be considered progression fantasy since each book involves the characters learning new skills and becoming more magically advanced. (Though this is only a basic example.)

Dark: Dark and Grimdark are often lumped together, however they are actually quite distinct. Dark fantasy deals with dark elements, be they violence, psychological distress, death of characters, and more. Most of the characters may go on to be happy enough at the end, but there will be several that do not. 

Grimdark: Unlike in dark fantasy, the likelihood of most/some characters reaching a happy enough ending is very low. Grimdark fantasy exists in a world where right and wrong have little meaning, dark elements run rampant throughout the story, and even main characters aren’t safe from a distressing end.

Sword and Sorcery: This subgenre is often analogous to epic and high fantasy. Sword and Sorcery indicates that the primary technology is contiguous with that of swords, and there is a great deal of magic. Lord of the Rings would be considered Sword and Sorcery. It often takes place during medieval times (or equivalent in whatever world).

Cosy: A low-stakes fantasy story where the primary plot follows a character’s goal to do something small that affects only their lives (or a very few number of other people’s lives). Usually there is a discussion of food, friendship, and other things that make people’s lives better. Happy endings are guaranteed. The Adenashire books by J. Penner are cosy fantasy. 

Romantasy: Romantic fantasy, or romantasy, often has similar elements to high/epic/sword and sorcery fantasy, but romance takes a front seat. The fantasy elements are still key, but the romance is almost equal. A purely romantic story with minor fantasy elements is not considered romantasy, but fantasy romance, which technically falls into the romance genre, not the fantasy genre. An example of romantasy would be Carissa Broadbent’s The Serpent and the Wings of Night or just about any Sarah J Maas book.

PNR: Paranormal Romance or PNR is one of those genres that technically straddles the line between fantasy and romance. It is technically an urban fantasy with a magical world that exists within our own, however, romance is the primary plot point of this book and therefore it really falls into the romance category more than the fantasy category.

Historical: A fantasy set in historical times, whether in primary or secondary world. This can include sword and sorcery or medieval, but also extends to any other period of history. Jan Foster’s Naturae series is historical fantasy set in the primary world around the Tudor era.

Science Fantasy: A fantasy book that mixes elements of science fiction with fantasy. The technology may be present in the way of science fiction, however, much of it is also fuelled by magic or there are magical elements that cannot be explained by science. Kelly Blanchard Dale’s The Chronicles of Lorrek series has an entire country where technology is king in the midst of a realm of magic.

Noblebright: A counterpoint to grimdark fantasy, this style of fantasy focuses on the battle between good and evil, with good winning out in the end. It may have dark elements, but there is a guaranteed happy ending and the characters are often very much good people. Again, The Lord of the Rings falls into this category.

Magical Realism: This subgenre is similar to contemporary fantasy in that it combines the mundane, normal aspects of reality with the extraordinary magic of fantasy. The normal aspects of reality are superimposed onto the fantastical, and often there is no explanation for the fantasy elements. An example of magical realism would be Chocolat by Joanne Harris.

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